Musical Talent Research Articles

PSYCHOLOGICAL PRECONDITIONS OF MUSICAL CREATIVITY

The purpose of the article is to analyze the psychological foundations of creative thinking as a prerequisite for musical creativity. The methodology is determined by the works in the field of psychology, which focus on the psychology of creativity, the problems of musical talent and creative thinking, encyclopedic resources, which reveal the essence of the notion of creativity, and musicology studies devoted to the issues of the creative process and musical activity. Scientific novelty consists of scientific comprehension of preconditions of musical creativity; in systematizing the psychological foundations of the creative process; in finding out the principles of creative thinking. Conclusions. Musical creativity is a complex process of artistic and creative thinking, which involves the creation of new spiritually valuable works. The psychological preconditions of musical creativity, such as talent, skill, intuition, creativity, and improvisation, are connected, first of all, with the psychic and mental development of the individual. However, the role of learning, acquiring skills and experience, the formation of imagination and accumulation of impressions is of great importance, because the process of creativity is associated with mental operations on the material primarily through conscious mechanisms. In the musical creativity there is an active and continuous correlation between the conscious and the unconscious. These two types of thinking complement each other, alternating depending on the tasks set before the composer. Creative tasks are realized with the help of creative-psychological settings, among which, the important role of emotions, intuition, reason, logic, rational principle, intelligence, and fantasy is evident.

The judges’ decision is final: Judgement in music talent reality TV and school music education

Abstract This article explores music talent reality television (RTV) and conceptualizes it as a site of music education. It also considers whether music talent RTV might magnify sociocultural traits that are less easily detected in other sites of music education. A considerable body of research has developed around RTV, notably from the fields of sociology, media studies, cultural studies and women’s studies. These scholars frequently draw on Bourdieu’s concepts of habitus and capital to analyse participant and audience engagements with the genre. Judgement is central to these discussions, particularly in the subgenre of music talent RTV, with several authors showing how taste and distinction are influenced by habitus. Reviewing the RTV literature highlights how certain musics and musicking experiences are judged, and how such judgement can devalue the musical experiences of those young people who are least likely to access school music education. This raises questions for further study about music talent RTV’s relationship with school music education, and for the study of music talent RTV as a music education setting in its own right, but it also highlights themes that warrant consideration in school music education sites, where judgements and their impacts on access and participation are often disguised or unquestioned.

<i>Terra Mia</i>, il punto di non ritorno della canzone napoletana

Pino Daniele has been one of the most important and influential Italian musicians and songwriters of the last forty years. Born and raised in Naples, Pino Daniele gave a new direction to the Neapolitan music and song in the seventies: Neapolitan folkloristic instruments, electric guitars, Neapolitan dialect, American language, Neapolitan melodies and American blues merged into something new. The result was as unexpected as successful: The musical language of the American blues was able to express what the Italian ethnomusicologist Roberto de Simone defines as ‘Neapolitan negritude’ more than any other genre. Pino Daniele became the progenitor of a style called ‘Neapolitan Power’, it’s the beginning of the Neapolitan transcultural song. Therefore, Pino Daniele played a strategic role as a forerunner of this new process of expression and creativity; many other musicians will take his experience into account. In this article, I will underline this using practical examples. First, some historical and sociocultural references will allow us to understand the period in which Pino Daniele took his first steps, then, with the analysis of two songs, I will point out his innovations and his links to the tradition. Finally, I will show how Pino Daniele’s work influenced a large number of young and talented Neapolitan musicians.

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

“Jazz Slide” by M. Tovpeko – A. Strilets: Aspects of the original source interpretation

Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing

Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing

Fedor Krause (1857-1937): the father of neurosurgery.

Fedor Krause's inspiring biography shows the value of translational thinking: one of the fathers of modern neurosurgery, this gifted child was recognized for his musical talent; he was able to study medicine thanks to financial support in recognition for his study performances. He wrote his doctor thesis on pneumology, and contributed to general surgery, neuroanaesthesiology, and neurosurgery application of novel technologies in neurosurgery and ethics. More in detail, in the neurosurgical field, he performed the first lumbar discectomy, set up intraoperative nerve monitoring, and pioneered trigeminal and acusticus nerve surgery, epilepsy surgery, and cortical mapping. His passion and engagement for surgery allowed him to make small centers turn into great centers recognized as renowned academic environments.

The X Factor of opportunity structures: How grab and wrap effects of entertainment create inadvertent news audience in a high-choice media environment

In today’s high-choice media environments, newscasts increasingly compete for viewers against multiple entertainment options. This development has led to concerns over the demise of inadvertent news audiences, which is especially problematic for public service broadcasters who have an obligation to provide news to all segments of the population. However, this study demonstrates how entertainment shows can be used to create a favourable opportunity structure that generates substantial inadvertent news audiences. Using Danish TV meter data from 2008 to 2016, we show that scheduling the music talent show The X Factor before and after the newscast on the main public service channel increased news audiences dramatically. These ‘grab’ and ‘wrap’ effects of entertainment were particularly strong among young people and people with low news interest, and the effects became even stronger over time. Consequently, entertainment shows, indirectly, play a positive democratic role, by increasing the viewership of newscasts.

«Forgotten name... Yakov A. Rosenstein»

«Forgotten name... Yakov A. Rosenstein»

The Understanding of Indigenous Knowledge as Indigenous Practice, Skill and Know-How: The Case of Communal Music-Making in Bapedi Culture as a Social Practice

In Bapedi culture, understanding of indigenous knowledge as indigenous practice, skill and know-how, is largely related to musical preference and inborn talent. Bapedi people regard indigenous music and ancestral beliefs, as a complement to their cultural identity. Indigenous songs accompanied by dancing, handclapping, ululation and different types of percussion instruments have traditionally played a prominent role in preserving Bapedi people cultural heritage. The enculturation process of indigenous knowledge is oral memory-based. The following research question is raised for the study: Why is communal music-making in Bapedi culture regarded as a social practice? In this article, the author attempts to provide the relationship between indigenous knowledge as indigenous practice and communal music-making as a social practice within Bapedi people’s cultural context. Such an investigation has hitherto not been attempted and this article is meant as a contribution in furthering knowledge in Ethnomusicology and Indigenous Knowledge Systems. The present study investigated innovation and communal composing as a social practice, creative imagination, interaction of music and choreography, as well as issues of interest in the philosophy of indigenous Bapedi music. The study was conducted in two phases; the first phase involved visiting and interviewing traditional musicians who are still performing the indigenous Bapedi music. The second phase included library search to determine what others have written on the same issue. The study has revealed that learning music is part of the socialisation process and imitation forms an important part in the transmission process. Individuals contribute ideas about song texts, polyphonic organization, melody and overall form. The resulting composition is therefore their song, not a named individual. The results have also shown that through music, Bapedi people not only learn the music itself, they also learn about their own local culture and as such preserve the Bapedi cultural heritage.

Desenvolvendo o talento musical na educação básica

Music education and the specialized attention to the talented students are provided by the Law 13.278/16 and Law 13.234/15, both stemming from the Law 9394/96. However, many Brazilian students have no access to music education, neither a specialized educational service. If the music subject were implemented in all schools, as happens with physical education and arts, many students could benefit from this teaching, be identified and develop their potentialities. That is why this theoretical essay aims to discuss about music teaching and the development of music talent, so this subject can be increasingly discussed and, perhaps, can mobilize managers of basic and higher education for the relevance of this modality of education for human development and, in the case of musical talent, quality of life and opportunity for those who manifest it.

Choosing to study music: student attitudes towards the subject of music in second-level education in the Republic of Ireland

AbstractThe present study aimed to identify student (16–18 years) attitudes towards the subject of music in second-level education in the Republic of Ireland. The study, framed by an interpretivist approach, employed qualitative data collection methods through interviews and focus groups. Findings indicate that student attitudes to music were influenced by the following factors: their innate interest in the subject, which was strengthened by an existing musical skill or talent, and the perceived use of the subject as a pathway for entry to further/higher education or for a student’s professional career. The findings also suggested that the music curriculum and the teaching style of the music teacher impacted student attitudes as did the appeal of the practical element of the subject, particularly with regard to the practical assessment component. Some interpretations of these findings are explored.

The social and cultural values of live music: Sustaining urban live music ecologies

This paper presents an overview of the social and cultural values attributed to live music ecologies in urban environments. It is grounded in a qualitative content analysis of live music reports and strategies from Australia, the United States, South Africa, Canada, Ireland, the United Kingdom, Scotland and the Netherlands. Contributing to the emerging scholarly literature on urban live music ecologies, this study enhances the understanding of the social and cultural merits of popular music concerts to cities. To date, the ways in which the social and cultural values of urban live music ecologies can be supported has received too little attention, because the emphasis in the public discourse has been on the economic impact of music-making. In our analysis, we found three different dimensions for social value (social capital, public engagement and identity) and three for cultural value (musical creativity, cultural vibrancy and talent development). Furthermore, we discuss how these values can be supported through specific cultural policies and urban planning interventions.

Rozwój kompetencji muzycznych jako wartość i efekt strategii wspierania dziecka ze specjalnymi potrzebami edukacyjnymi

This article discusses the practical approaches to organising and implementing activities aimed at supporting musical abilities in the pre-school educational process. It presents the issues of the relevance and necessity of selecting educational tasks which take into account the interests, musical talents and individuality identified for a particular child. The progress of an individual in terms of musical skills, constituting a specific value of the musical abilities of a child, results from implementing the described organisational and methodological improvements, which create opportunities to experience a variety of forms of musical activity. An analysis of the author’s own research, demonstrating children’s musical achievements and skills, is used in the article to point out the value of pre-school education in this process.

Associative thinking as a leading method for determining intervals by ear

Associative thinking as a leading method for determining intervals by ear

Absolute Imagination: the Metaphysics of Romanticism

Carnap famously argued that metaphysics unavoidably involves a confusion between science and poetry. Unlike the lyric poet, who does not attempt to make an argument, the metaphysician attempts to make an argument while simultaneously lacking in musical talent. Carnap’s objection that metaphysics unavoidably involves a blend of philosophy and poetry is not a 20th century insight. Plato, in his beautifully crafted Phaedo, presents us with the imprisoned Socrates, who having been condemned to death for practicing philosophy in the Apology, has a dream in which he realizes that he ought to make music. In this dialogue, however, Plato indicates no hint of the scorn that Carnap has for metaphysics—rather Socrates’ friends find him setting Aesop’s fables to verse. In the modern era, Nietzsche re-introduced the ‘music making Socrates’ in his Birth of Tragedy. But Nietzsche is not the first to revive the concept in modern philosophy. Before Nietzsche’s call for a new music-making Socrates, the early German Romantics, in particular Schlegel, explicitly called for the identification of poetry and science in the concept of Poesie. As Schlegel writes: ‘Alle Kunst soll Wissenschaft werden, und alle Wissenschaft Kunst werden; Poesie und Philosophie sollen vereinigt sein.’ On the one hand, in Ion Socrates is not wrong to critique Ion for not knowing the significance of his own work. On the other hand, Socrates himself recognizes in Phaedo that he is guilty of failing to heed the call to make music. Long misunderstood, the Romantic concept of Poesie is not mere irrationalism, for it offers an aesthetic metaphysics of the Absolute. Romanticism is indeed a philosophy of the Absolute, but one which cannot conceive of any solution to the profound impasses that confront philosophical knowing except by learning to make music.

МАНДРІВНІ МУЗИКАНТИ ЗАХІДНОГО ПОЛІССЯ: ШТРИХИ ДО ПОРТРЕТА ЛІРНИКА ІВАНА ВЛАСЮКА

Traveling busker performance is an integral part of the folk musical culture of Western Polissya and has been widespread in the region until recently. Particularly important were the hurdy-gurdy players, which were respected as great spiritual and ethical mentors. As well they influenced the development of the folk musical tradition in general. The proposed research illuminates life and musical art career of Ivan Vlasyuk, the last Polissyan hurdy-gurdy player. Besides biographical information there are transcriptions of unknown records: two psalms about Saint Nicholas and one about John the Forerunner. In addition to discovered records the author of the article includ- ed voluminous ethnographic information to present a complete picture of the life and work of a talented musician. It was collected during 2017–2019 from local residents in the village Zalyuttya in Starovyzhivskiy district of Volyn region, as well as from the guide-boy and later son-in-law of musician – Petro Savchuk, born in 1946. Ivan Vlasiuk used several forms of busking, which combined the rituals of the Orthodox Church: a recitation of prayers, singing of Akathists, Bible theme psalms on one side. On the other side he performed songs on ethical and satirical themes or jokes and dances accompanied by a hurdy-gurdy. The main form of busking was focused on visiting village houses. The passage through the village was performed in two ways.The first was by going “from house to house”, the other in hurdy-gurdy art tradition was called “going through”, which described as an artist’s passing on the main road of the village with- out visiting villager’s homes. Besides “from house to house” form, there were shows at big public gatherings, such as fairs or markets. Equally important were the church and religious festivals where many traveling musicians gathered at the same time. The main part of Ivan Vlasyuk’s repertoire was inherited from his teacher Stepan Rybachuk, the rest he learned from other blind musicians in the process of busking. At the beginning of his travels Ivan Vlasyuk’s repertoire consisted mainly of religious ethical works, and later he actively studied folk songs-mostly humorous, which were more interesting to peasants and to the musician himself. The proposed work is only the beginning of studies of the hurdy-gurdy art in Western Polissya, so it does not claim to be entire. At least it requires the full coverage of work about other representatives of the local blind busker tradition, including the blind harmonists.

KAMPANYE GIZI SEIMBANG MELALUI KESENIAN RABAB

ABSTRACT
 The prevalence of underweight children under five in Indonesia is still high, compared to the target of Indonesia's MDGs of 18.5% West Sumatra is still below the target. Health problems can not only be solved by the government, but community involvement is required, therefore the potential needs to be mobilized. Rabab is a traditional Minangkabau traditional string instrument made from coconut shell. With this rabab can be channeled one's musical talents. Usually in this rabab narrated a variety of nagari stories or known by the term Kaba.merupakan a traditional theater that is populist in Minangkabau area, West Sumatra. Research with qualitative approach with research strategy "Case Study Research (CSR)" with descriptive case study. The study was planned to be conducted on 10 (ten) rabab players active in the Balai Selasa, Pesisir Selatan District. Most informants stated that the balanced nutrition message can be compiled into story through Rabab, almost all informants stated that balanced nutrition messages can be prepared according to the language of the community local, most informants stated that the message of balanced nutrition can be compiled according to the dialeg minang community, most informants stated that the message of balanced nutrition can be compiled by summarizing information in simple form, Rabab as a regional art that has the potential Minangkabau have the potential to campaign balanced nutrition in achieve optimal health for children under five and family. It is recommended to review the balanced nutrition messages for the various ages of the community through Rabab art, to examine the influence of Rabab arts interventions on the knowledge, attitude and actions of people of all ages on balanced nutrition, to formulate strategies for the development of Rabab art through the preparation of scenarios for changes in community behavior about balanced nutrition.
 
 Keywords: nutrition, rabab

“How Beautiful It Sounds!”: The Lieder and Sonntagsmusiken of Fanny Mendelssohn Hensel

Throughout her lifetime, Fanny Mendelssohn Hensel was primarily known as the sister of the musical genius, Felix Mendelssohn, as the daughter of her distinguished parents, Lea and Abraham Mendelssohn and as the wife of her artistic husband, August Wilhelm Hensel. Today, Hensel is remembered for her remarkable musical talents and a wide breadth of compositions. Though often passed over as a woman in the nineteenth-century, Fanny Hensel played a key role in the musical life of the city of Berlin. Hensel’s musical voice was defined by her comprehensive musical education and through her Sonntagsmusiken (translated “Sunday Musicales”). In the next generation, British author Virginia Woolf shed light on the obstacles to a female artist’s life. In the essay, A Room of One’s Own, Woolf outlined the main elements necessary to create art: financial security and a room to one’s self. For Hensel, financial security was ensured through her family, yielding for her a rich musical education. Hensel was given a private space for her creative work in an adjacent building called the Gartenhaus. This paper investigates how Fanny Mendelssohn Hensel’s educational and performance opportunities shaped her compositional voice and circumscribed her influence on nineteenth-century Berlin musical society.

The efficacy of peer teaching for medical microbiology lectures.

This article was migrated. The article was marked as recommended. Background: A thorough understanding of infectious diseases is needed by medical professionals; therefore effective microbiological teaching is critical. Although faculty lectures are a convenient means of educating large groups of students, they may fail to engage students and convey an understanding of the subject. Therefore, we developed peer teaching methods based on game-based learning using a reality musical talent show format. Methods: A group of student representatives were trained to lecture to a class of 300 third-year medical students via a game show format over a 3-year period (2013-2015). Results: The students reported a higher level of understanding (3.6-4.2 vs 3.6-3.9 out of 5; p Conclusions: Peer teaching did improve the students' attitude towards learning and conferred teaching skills, but the learning activity needs adjustment to reduce the out-of-class preparation time.

“Más poéticas que pedagógicas palabras”: Gerardo Diego y el curso de historia de la música para piano en el Ateneo de Soria (1921)

La excepcional pasión por la música de la que Gerardo Diego hizo gala a lo largo de toda su vida dio lugar a una ingente producción poética, crítica y ensayística, además de notas al programa, colaboraciones radiofónicas y un sinfín de conferencias-concierto. Entre febrero y mayo de 1921, durante su primer curso como catedrático de Literatura, Diego llevó a cabo el ambicioso proyecto de explicar e interpretar doscientos años de literatura pianística ante los socios del Ateneo de Soria en trece conferencias-concierto. Este “Curso de historia de la música para piano” fue, sin duda, su primer proyecto de gran envergadura. En consecuencia, el presente artículo valora la realización de este curso como una muestra inequívoca del talento precoz y exquisito bagaje musical que el joven Gerardo Diego forjó durante sus años formativos en Santander, Bilbao y Madrid y como un inusitado ejemplo de la presencia de agendas musicales cosmopolitas en un contexto local gracias a la generosa contribución de valiosos individuos.